Wes Anderson's films are as formally distinctive as Peter Greenaway's, and sometimes as maddening. They are pictorial things, but less in the way of a film than, say, a graphic novel. Where Greenaway thinks like a painter, Anderson uses the camera like a cartoonist, each frame hyper-composed in colour and composition, an eccentric mini-work of art in itself. What the frames don't have is much sense of physical or emotional movement from one to another. It's the same with the dialogue. People in Wes World don't overlap in their conversation – a character says something, then there's a pause, then another character replies. Again, it's like the thin white lines dividing one box from another in a comic strip. Some find the effect very charming.

There were times in the past when Novak Djokovic's appetite for a battle was called into question, but the fighting qualities the Serb showed in winning three Grand Slam titles last year and becoming world No 1 have been recognised in Hollywood. Djokovic is making his screen debut in The Expendables 2, which is due to be released later this year.

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